dimanche 24 février 2013

Source Art Forum by Michaela Slavid
Part of the fair’s draw is the generous program of talks, organized for the second year by Valérie Rousseau. (She’s a new member of the American Folk Art Museum’s curatorial team, and is married to Edlin.) Sunday’s panel, “A Bridge Between Art Worlds,” brought curators Massimiliano Gioni, Daniel Baumann, and Ralph Rugoff together on the roof of the Dia building. Their priority: how to lift the veil from outsider art’s seclusion. Referencing similarities between work (created concurrently, and without cross-pollination) by Adolf Wölfli and the Dadaists, Baumann implied that similar parallels might hold keys to a more comprehensive art history. Gioni, in turn, suggested exhibiting outsider artwork “not as a new king or queen we crown in our museums,” but as a force to disrupt the status quo. (Perhaps a dethroning in favor of anarchy!)
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Publié par
Herve Perdriolle

samedi 23 février 2013

Source Sotheby's by James Reginato
In the late 1990s, Amrita Jhaveri took a gamble when she paid nearly $500 for a painting by a young, unknown Indian artist. It was so large she had nowhere to hang it, and Contemporary Indian art was then barely recognised as a field in which to collect. Three years later, in 2001, Tate Modern asked to borrow the picture – We Will Repay our Debt Sometime, by Girish Dahiwale – for its inaugural exhibition, Century City. “I felt really flattered,” Jhaveri recalled on a recent afternoon over tea in the boardroom of Sotheby’s London offices. Moreover, Jhaveri sensed she was on to something: Contemporary Indian art was a field about to come of age.
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Publié par
Herve Perdriolle

jeudi 21 février 2013

Source Mutual Art by Lihi Raviv
“There are parallel contemporaries in Indian art”, concludes Sunish, “One that is learnt and produced by artists coming out of urban ‘fine art’ institutions (the systems of which are a colonial residue), and a whole lot of others coming from a traditional or ‘folk’ stream of art and craft, that is integral to the various regions of India, and is now producing artists who are keen to take part in the expression of an Indian contemporary. This period is one of negotiation and collaboration among these two sections, and the market also has to make space for these experimental contemporaries.”
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Publié par
Herve Perdriolle

mercredi 20 février 2013

Source Art Forum by Zehra Jumabhoy
The Fifth Edition of the India Art Fair kicked off with a bang. Or should I say a smash? At the fair’s opening a couple weeks ago, dealer Lorenzo Fiaschi subbed in for artist Michelangelo Pistoletto—infamous in recent years for his performance Twenty-Two Less Two, in which he breaks giant gilded mirrors with a sledgehammer—and had a go at a piece of long, silvery looking-glass. CRACK! it went, shooting glittery shards all over Galleria Continua’s booth: The VIP preview had begun.
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dimanche 17 février 2013

Source Business Standard by Kishore Singh
Fifteen years ago — a lifetime in Indian art, according to some — Amrita Jhaveri started collecting modern and contemporary art somewhat more seriously than most, becoming one of the earliest specialists with a calibrated eye for picking art works that represented the best of each generation’s artists. The catalyst for that original impulse had been triggered by the inclusion of a work she’d acquired — “even before I had a flat”, she laughs during our conversation — in the Tate’s Garden City exhibition, and now Jhaveri seems bent on returning that favour by providing the Indian art market with a pleasant jolt.
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Publié par
Herve Perdriolle

samedi 9 février 2013

Source Smart Musuem Chicago
Since 1989, the influential Delhi-based Sahmat has offered a platform for artists, writers, poets, musicians, actors, and activists to create and present works of art that promote artistic freedom and celebrate secular, egalitarian values. The collective formed in the weeks after playwright, actor, and activist Safdar Hashmi was fatally attacked by political thugs while performing a street play. In the more than twenty years since, Sahmat has drawn on India’s secular heritage and an expansive group of collaborators to produce a series of projects that engage in important political and social debates through a mix of high art and street culture. This exhibition will introduce Sahmat's work to the United States.
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Source Art Agenda by Natasha Ginwala
Between thematic panel sessions at the Speakers’ Forum bringing together a dynamic line up of participants including critic-curators Adriano Pedrosa, Chus Martínez, Geeta Kapur, and Barbara London, among others, I slipped back into the fair to view the exceptional works of indigenous women artists, Yamuna Devi (1915–2011) and Chano Devi (1938–2010) at Paris-based collector and gallerist Hervé Perdriolle’s booth. These artists significantly transformed the traditional style of Mithila painting, interspersing native divinities and animist faith-motifs with local botanical and celestial references.
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Publié par
Herve Perdriolle

lundi 4 février 2013

Source Art Info by Rosalyn D'Mello
Line of Control debuted in London in the 2009 Tate Triennial, which is where Nadar first encountered the piece. “Overwhelmed,” as she describes it, by the work’s “awe-inspiring” nature, she decided on the spot to acquire it for KNMA, India’s first private museum for modern and contemporary art. “It is one of the most phenomenal works any artist could have done. I had to have it,” Nadar said with conviction when asked if she had considered the logistical challenge that transporting and installing such a gargantuan work would present.
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This newsletter posted by Hervé Perdriolle in October 2007, tracks the news of the Indian Contemporary Art through an international press review regularly updated.Since 2008 more than 1.800 press articles listed - 145.000 pages viewed.